Beyond the Dark Veil: Post Mortem and Mourning Photography from The Thanatos Archive is a compilation of more than 120 extraordinary and haunting photographs and related ephemera documenting the practice of death and mourning photography in the Victorian Era and early twentieth century. Supplemented with original newspaper articles, clippings, funeral notices, memorial ephemera and more, the collection will take us on a journey through a fascinating, moving, and melancholically beautiful part of our past. The images in Beyond the Dark Veil speak to us: they speak of love, loss, lives cut short, brave final hours, shattered families, and the depths of the human spirit.

Contains 194 images of hand-colored photographs, albumen prints, ambrotypes, cabinet cards, carte de viste, daguerreotypes, gelatin silver prints, opaltypes, real photo postcards, stereoviews, tintypes, and supplementary articles and related ephemera.

Contributors include: Adam Arenson I, Jacqueline Ann Bunge Barger, Alex Jackson, Bess Lovejoy, Marion Peck, Joanna Roche, and Joe Smoke.

ABOUT THE ARCHIVE:
Located in Woodinville, Washington, The Thanatos Archive houses an extensive collection of early post-mortem, memorial, and mourning photographs dating as far back as the 1840s. The online version of the archive, hosted at Thanatos.net since 2002, offers a searchable database of over 2,300 scanned images, with scans of new acquisitions being added on a regular basis. In addition to the main online archive, hundreds of additional images and material can be found in the community discussion forum, including hi-resolution enlargements, genealogical information, and more.

July 16, 1969. Nearly one million spectators flock to Cape Canaveral to witness the largest rocket ever built send three Americans to the Moon. Four days later, two step onto the lunar surface. The extraordinary achievement is celebrated around the world. Images capturing these incredible moments fill the pages of Picturing Apollo 11, an unprecedented photo¬graphic history of the space mission that defined an era. Through a wealth of unpublished and recently discovered images, this book presents new and rarely seen views of the people, places, and events involved in planning, accomplishing, and commemorating the first Moon landing. Starting with the extensive preparations for the mission, these photographs show astronauts Neil Armstrong, Buzz Aldrin, and Michael Collins training for the flight and their spacecraft and stages of the massive Saturn V rocket arriving at the Kennedy Space Center for assembly. They display the media frenzy over the unfolding story and the Moon fever that gripped the nation. In addition to both ubiquitous and lesser-known images of the moonwalk itself, the authors present life back on Earth while men explored the lunar surface, as well as the anniversary festivities that paid homage to them in the following decades. Accompanying text details each scene, revealing the enormous scale and scope of the activities that went into planning and executing one of humankind's most historic moments. Presented chronologically, each picture evokes the electric atmosphere of the time. No other book has showcased as many never-before-seen photos connected with Apollo 11 or as many images covering the activities from the months before to the years after the mission. Most of the hundreds of photographs were selected from NASA archives and J. L. Pickering's collection, the world's largest private collection of U.S. human space flight images.

A Sarah Mills Hodge Fund publication

Born to Jewish immigrants, Julius Rosenwald rose to lead Sears, Roebuck & Company and turn it into the world's largest retailer. Born into slavery, Booker T. Washington became the founding principal of Tuskegee Institute. In 1912 the two men launched an ambitious program to partner with black communities across the segregated South to build public schools for African American children. This watershed moment in the history of philanthropy--one of the earliest collaborations between Jews and African Americans--drove dramatic improvement in African American educational attainment and fostered the generation who became the leaders and foot soldiers of the civil rights movement.

Of the original 4,978 Rosenwald schools built between 1917 and 1937 across fifteen southern and border states, only about 500 survive. While some have been repurposed and a handful remain active schools, many remain unrestored and at risk of collapse. To tell this story visually, Andrew Feiler drove more than twenty-five thousand miles, photographed 105 schools, and interviewed dozens of former students, teachers, preservationists, and community leaders in all fifteen of the program states.

A Better Life for their Children includes eighty-five duotone images that capture interiors and exteriors, schools restored and yet-to-be restored, and portraits of people with unique, compelling connections to these schools. Brief narratives written by Feiler accompany each photograph, telling the stories of Rosenwald schools' connections to the Trail of Tears, the Great Migration, the Tuskegee Airmen, Brown v. Board of Education, embezzlement, murder, and more.

Beyond the photographic documentation, A Better Life for Their Children includes essays from three prominent voices. Congressman John Lewis, who attended a Rosenwald school in Alabama, provides an introduction; preservationist Jeanne Cyriaque has penned a history of the Rosenwald program; and Brent Leggs, director of African American Cultural Heritage at the National Trust for Historic Preservation, has written a plea for preservation that serves as an afterword.

In 1919 there were just 6.7 million cars in America. There was no interstate system. The national park system was thirty-seven years young.

In this fledgling environment for long-distance travel, H. A. Spallholz and family set out from Salem, New York, to see America's national parks. In his 1917 Haynes Roadster, Henry packed his family and a camera and headed west. From storied New England through Great Plains grasslands, up the Rocky Mountains and down the west coast, this book documents firsthand what America looked like from very early highways and byways.

Collected here into a book for the first time, the Spallholz photographs are a fascinating picturesque time capsule of early twentieth century America. See its cities and monuments. See Yellowstone Park pristine and wild. See the dirt and muddy roads that connected our states and metropolises and the tremendous challenges that came with traversing them. See a young family energized and beleaguered by the length of the journey: 10,400 miles.

These family photographs were lost for a generation before they were uncovered by Art Vaughan, a hobbyist photographer who was stationed in Portland, Maine, with the Coast Guard. He found the glass slides and original lantern slide projector in a Salvation Army shop. Years later, when he posted some of the photographs online, the Spallholz descendants recognized their grandfather's photographs and contacted Mr. Vaughan. This serendipitous story, some fifty years in the making, is documented herein.

This book provides a unique view across generations of American travelers and belongs on the coffee table of anyone who loves photography, American history, and the great outdoors.

Offers valuable material not only to students of crystallography but also to those of the arts. -- The New York Times
Did you ever try to photograph a snowflake? The procedure is very tricky. The work must be done rapidly in extreme cold, for even body heat can melt a rare specimen that has been painstakingly mounted. The lighting must be just right to reveal all the nuances of design without producing heat. But the results can be rewarding, as the work of W. A. Bentley proved.
For almost half a century, Bentley caught and photographed thousands of snowflakes in his workshop at Jericho, Vermont, and made available to scientists and art instructors samples of his remarkable work. In 1931, the American Meteorological Society gathered together the best of these photomicrographs, plus some slides of frost, glaze, dew on vegetation and spider webs, sleet, and soft hail, and a text by W. J. Humphreys, and had them published. That book is here reproduced, unaltered, and unabridged. Over 2,000 beautiful crystals on these pages reveal the wonder of nature's diversity in uniformity; no two are alike, yet all are based on a common hexagon.
The introductory text covers the technique of photographing snow crystals, classification, the fundamentals of crystallography, and markings. There are also brief discussions of the nature and cause of ice flowers, windowpane frost, dew, rime, sleet, and graupel.
The book is of great value both to students of ice forms and for textile and other designers who can use the natural designs of these snow crystals in their work. Every photograph is royalty-free; you may use up to 10 without fees, permission, or acknowledgement.
A most unusual and very readable book. -- Nature

Step into a time machine and witness some of the most significant events of the late 19th and early 20th century, brought to vivid life in full-color restorations of historic black-and-white photographs.

This revolutionary photography collection is as close to time travel as it gets. Featuring 120 historic black-and-white photographs thoroughly restored and rendered in color, this book illuminates some of the most iconic moments in history, from the sinking of the Titanic to the construction of the Golden Gate Bridge. Brought to life with vibrant color, these incredible images effectively blur the distinction between past and present and bring history within arm's reach. With a timeline spanning more than 100 years, from 1839 to 1949, this unique collection will amaze history and photography buffs alike, offering new perspectives on significant moments of the 19th and 20th centuries.

MESMERIZING FORMAT: Presented in reverse chronological order, this enchanting book takes you back through time, one stunning colorized photograph at a time. The left margin of each spread features a map and a timeline showing when and where each image was taken, as well as quotes from the time period that also help bring each historical moment to life.

A WONDERFUL GIFT: History as They Saw It is a surefire conversation starter and a unique gift for any occasion.

READERS LOVE IT: With hundreds of 5-star ratings, reviewers rave that this book changes how I see the past and note that the colorization by artist Jordan Lloyd is brilliant . . . and this presentation allows one to see the past much as one's ancestors did.

Perfect for:

• Gift givers shopping for history buffs and photography lovers
• Fans of Ken Burns, Wes Anderson, and National Geographic
• People who enjoy collecting beautiful art, history, and photographic coffee table books

The photographs and stories in Beyond the Shadows are not just a reminder of how racism and anti-Semitism can foment violence and murder, but a warning for our uneasy present, when white nationalism and neo-Nazism are on the upswing. These stories are also a primer on how to stand up to prejudice, transcend tribalism and embrace our shared humanity.--Maurice Berger, The New York Times

The extraordinary experiences of ordinary people--their suffering and their unimaginable bravery--are the subject of Judy Glickman Lauder's remarkable photographs. Beyond the Shadows responds to the mass murder of Jews during the Holocaust, while telling the uplifting story of how the citizens and leadership of Denmark, under occupation and at tremendous risk, defied the Third Reich to transport the country's Jews to safety in Sweden. Over the past thirty years Glickman Lauder has captured the intensity of the death camps in Germany, Poland, and Czechoslovakia in dark and expressive photographs, telling of a world turned upside down. In contrast, the redemptive and uplifting story of the Danish exception is told through portraits of Danish Jewish survivors and Danish rescuers. Over the course of a few intense weeks in 1943, the vast majority of Denmark's Jewish population, seven thousand people, along with nearly seven hundred non-Jewish spouses, were hidden in boats and carried across the resund to safety in Sweden. Denmark is the only nation in Western Europe that can claim the rescue of its Jewish population from the Holocaust.

With texts by Holocaust scholars Michael Berenbaum and Judith S. Goldstein, recollections by Danish Jewish survivors, and a previously unpublished text by Elie Wiesel, written in response to this body of work, Beyond the Shadows demonstrates passionately what hate can lead to, and what can be done to stand in its path.

On a wintry day in December 1890, near a creek named Wounded Knee on the Pine Ridge Reservation in South Dakota, the Seventh Cavalry of the U.S. Army opened fire on an encampment of Sioux Indians. This assault claimed more than 250 lives, including those of many Indian women and children. The tragedy at Wounded Knee has often been written about, but the existing photographs have received little attention until now.

Eyewitness at Wounded Knee brings together and assesses for the first time some 150 photographs that were made before and immediately after the massacre. Present at the scene were two itinerant photographers, George Trager and Clarence Grant Morelodge, whose work has never before been published. Accompanying commentaries focus on both the Indian and the military sides of the story. Richard E. Jensen analyzes the political and economic quagmire in which the Sioux found themselves after 1877. R. Eli Paul considers the army's role at Wounded Knee. John E. Carter discusses the photographers and also the reporters and relic hunters who were looking to profit from the misfortune of others.

For this Bison Books edition each image has been digitally enhanced and restored, making the photographs as compelling as the event itself. Heather Cox Richardson tells the story behind the endeavor to present a meaningful account of this significant historical event.

How a single haunting image tells a story about violence, mourning, and memory

In 1865, Clara Barton traveled to the site of the notorious Confederate prison camp in Andersonville, Georgia, where she endeavored to name the missing and the dead. The future founder of the American Red Cross also collected their relics--whittled spoons, woven reed plates, a piece from the prison's dead line, a tattered Bible--and brought them back to her Missing Soldiers Office in Washington, DC, presenting them to politicians, journalists, and veterans' families before having them photographed together in an altar-like arrangement. Relics of War reveals how this powerful image, produced by Mathew Brady, opens a window into the volatile relationship between suffering, martyrdom, and justice in the wake of the Civil War.

Jennifer Raab shows how this photograph was a crucial part of Barton's efforts to address the staggering losses of a war in which nearly half of the dead were unnamed and from which bodies were rarely returned home for burial. The Andersonville relics gave form to these absent bodies, offered a sacred site for grief and devotion, mounted an appeal on behalf of the women and children left behind, and testified to the crimes of war. The story of the photograph illuminates how military sacrifice was racialized as political reconciliation began, and how the stories of Black soldiers and communities were silenced.

Richly illustrated, Relics of War vividly demonstrates how one photograph can capture a precarious moment in history, serving as witness, advocate, evidence, and memory.

As a young teamster on a pack-mule train, Wilfred Dudley Smithers saw the Rio Grande's Big Bend for the first time in 1916, and it captured his imagination forever. For decades thereafter he returned to Texas' last great frontier-the great bend of the Rio Grande on the Texas-Mexico border-chronicling the region and its people in words and photographs. After half a century of photography, Smithers' superlative collection of nine thousand images ended up at the University of Texas at Austin, and in 1976 more than one hundred of these were reproduced in Chronicles of the Big Bend, a critically acclaimed work that until now has long been out of print. The years that Smithers chronicled in the Big Bend were sometimes violent ones. Pancho Villa and Chico Cano were among the many bandits playing hide-and-seek with the U.S. Cavalry-events Smithers recorded. He was also an eyewitness to liquor-running and smuggling during Prohibition. His principal subjects, however, were the people of the Big Bend: local ranchers, Mexican American and American families, miners, Texas Rangers, and others living simple lives in this harsh and beautiful land. With words and camera Smithers wanted to capture vanishing lifestyles, primitive cultures, old faces, and odd, unconventional professions. Before my camera I wanted huts, vendors, natural majesties, clothing, tools, children, old people, the ways of the border. He also told his own life story along with that of the Big Bend. There are illustrated chapters on the military, law enforcement, curanderos (healers), liquor smugglers, avisadores (secret-message senders), and the national park. Smithers' word sketches and black-and- white photographs capture the harsh reality and stark beauty, the dust and the mystery of the frontier era of the Big Bend that ended in 1944 when it became a national park. Chronicles of the Big Bend is a rare documentary look at a frontier region as it was known by only a few and as it will never be seen again. It is a deeply personal human portrait of the majestic Big Bend. WILFRED DUDLEY SMITHERS (1895-1981) was born in San Luis Potosi, Mexico, in 1895. He began taking photographs at age fifteen while living in San Antonio, and later worked as a teamster, joined the U.S. Army, operated a photo studio, served as a news correspondent, and helped pioneer aerial photography.

Forever linked with World War II and America's entrance into the Atomic Age, Los Alamos was a small ranching community and the site of an exclusive boys' school until 1943. As the Manhattan Project unfolded, Pvt. J.J. Michnovicz--first assigned to Los Alamos as a photographer by the military but later working as a civilian--recorded the everyday spirit of the people and the events that shaped this mountain town into a home . . . and secret scientific hotbed. This comprehensive view of the social and professional world of Los Alamos is the photographic journal of a singular period, as seen through the eyes of one soldier.

Forever linked with World War II and America's entrance into the Atomic Age, Los Alamos was a small ranching community and the site of an exclusive boys' school until 1943. As the Manhattan Project unfolded, Pvt. J.J. Michnovicz--first assigned to Los Alamos as a photographer by the military but later working as a civilian--recorded the everyday spirit of the people and the events that shaped this mountain town into a home . . . and secret scientific hotbed. This comprehensive view of the social and professional world of Los Alamos is the photographic journal of a singular period, as seen through the eyes of one soldier.

Explore Gilded Age New York through the lens of Alice Austen, who captured the social rituals of New York's leisured class and the bustling streets of the modern city. Celebrated as a queer artist, she was this and much more

Alice Austen (1866-1952) lived at Clear Comfort, her grandparent's Victorian cottage on Staten Island, which is now a National Historic Landmark. As a teenager, she devoted herself to photography, recording what she called the larky life of tennis matches, yacht races, and lavish parties.

When she was 25 and expected to marry, Austen used her camera to satirize gender norms by posing with her friends in their undergarments and in men's clothes, smoking cigarettes, and feigning drunkenness. As she later remarked, she was too good to get married. Austen embraced the rebellious spirit of the New Woman, a moniker given to those who defied expectations by pursuing athletics, higher education, or careers. She had romantic affairs with women, and at 31, she met Gertrude Tate, who became her life partner. Briefly, Austen considered becoming a professional photographer. She illustrated Bicycling for Ladies, a guide written by her friend Violet Ward, and she explored the working-class neighborhoods of Manhattan to produce a portfolio, Street Types of New York. Rejecting the taint of commerce, however, she remained within the confines of elite society with Tate by her side.

Although interest in Austen has accelerated since 2017, when the Alice Austen House was designated a national site of LGBTQ history, the only prior book on Austen was published in 1976. Copiously illustrated, Too Good to Get Married fills the need for a fresh and deeply researched look at this skillful and witty photographer. Through analysis of Austen's photographs, Yochelson illuminates the history of American photography and the history of sexuality.

As seen in The New York Times, The Atlantic, and The Telegraph

A compelling gallery of women who made their way into a man's world, shown through group portraits each featuring a lone woman

An original approach to gender equality, this striking pictorial statement brings to light the compelling and undeniable phenomenon of 'the only woman': across time and cultures, groups of artists, activists, scientists, servants, movie stars, or metal workers have often included exactly and only one woman.

Covering examples from nearly 20 countries, from the advent of photography until the present day, author Immy Humes reveals and reframes how women and men have related socially in surprising and poignant ways. This is a fresh contribution to visual and cultural history full of unheard stories, courage, achievement, outrage, mystery, fun, and extraordinary women.

A unique focus on women and men in public life from 1860 to the present day charting the phenomenon of 'the only woman' from countries including the USA and the UK, France, Peru, Mexico, India, China, Japan, and Australia. The book features both unknown and well-known women from a diverse range of backgrounds including writers, conductors, civil-rights leaders, domestic workers, sportswomen, and lawyers as well as princesses, railway workers, boxing promoters, and astronauts.

What is American Indian photography? At the turn of the twentieth century, Edward Curtis began creating romantic images of American Indians, and his works--along with pictures by other non-Native photographers--came to define the field. Yet beginning in the second half of the nineteenth century, American Indians themselves started using cameras to record their daily activities and to memorialize tribal members. Through a Native Lens offers a refreshing, new perspective by highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections.

In this richly illustrated volume, Nicole Dawn Strathman explores how indigenous peoples throughout the United States and Canada appropriated the art of photography and integrated it into their lifeways. The photographs she analyzes date to the first one hundred years of the medium, between 1840 and 1940. To account for Native activity both in front of and behind the camera, the author divides her survey into two parts. Part I focuses on Native participants, including such public figures as Sarah Winnemucca and Red Cloud, who fashioned themselves in deliberate ways for their portraits. Part II examines Native professional, semiprofessional, and amateur photographers.

Drawing from tribal and state archives, libraries, museums, and individual collections, Through a Native Lens features photographs--including some never before published--that range from formal portraits to casual snapshots. The images represent multiple tribal communities across Native North America, including the Inland Tlingit, Northern Paiute, and Kiowa. Moving beyond studies of Native Americans as photographic subjects, this groundbreaking book demonstrates how indigenous peoples took control of their own images and distinguished themselves as pioneers of photography.

The American Indian Movement, founded in 1968 in Minneapolis, burst into that turbulent time with passion, anger, and radical acts of resistance. Spurred by the Civil Rights movement, Native people began to protest the decades--centuries--of corruption, racism, and abuse they had endured. They argued for political, social, and cultural change, and they got attention.

The photographs of activist Dick Bancroft, a key documentarian of AIM, provide a stunningly intimate view of this major piece of American history from 1970 to 1981. Veteran journalist Laura Waterman Wittstock, who participated in events in Washington, DC, has interviewed a host of surviving participants to tell the stories behind the images.

The words of Russell Means, Dennis Banks, Clyde Bellecourt, Eddie Benton Banai, Pat Bellanger, Elaine Salinas, Winona LaDuke, Bill Means, Ken Tilsen, Larry Leventhal, Jose Barreiro, and others tell the stories: the takeovers of federal buildings and the Winter Dam in Wisconsin, the founding of survival schools in the Twin Cities, the Wounded Knee trials, international conferences for indigenous rights, the Trail of Broken Treaties Caravan and the Longest Walk for Survival, powwows and camps and United Nations actions. This is the inside record of a movement that began to change a nation.

Dick Bancroft has been the unofficial photographer for the American Indian Movement since 1970. He has traveled the world to take these photographs. Laura Waterman Wittstock (Seneca Nation), a writer and media consultant, covered the early years of the American Indian Movement as a journalist. Rigoberta Menchú Tum, recipient of the 1992 Nobel Peace Prize, is an activist for indigenous rights in Guatemala.

Old Ireland in Colour celebrates the rich history of Ireland and the Irish through the colour restoration of stunning images of all walks of Irish life, and the Irish abroad, throughout the nineteenth and twentieth centuries. From the chaos of the Civil War to the simple beauty of the islands, each image has been exquisitely transformed and every page is bursting with life. Using a combination of cutting-edge artificial intelligence technology and his own historical research, John Breslin has meticulously colourised these pictures with breathtaking attention to detail and authenticity. With over 170 photographs from all four provinces, and accompanied by fascinating captions by historian Sarah-Anne Buckley, Old Ireland in Colour revitalises scenes we thought we knew, and brings our past back to life before our eyes.

Published as a collection for the first time, these arresting and poetic and images of Northern Ireland reveal a rarely examined facet of the oeuvre of a celebrated twentieth century war photographer.

Akihiko Okamura became a renowned war photographer during the first years of the Vietnam war and later, as he documented wars in Biafra and the Middle East. In 1969, he moved from Southeast Asia to Dublin. From there, Okamura traveled frequently to Derry and other parts of Northern Ireland to document the country's Troubles. This beautifully produced book brings together for the first time Okamura's Irish work, which was almost entirely unpublished before now. Presented in full page plates without text, Okamura's images are imbued with soft, muted colors that contrast with the violence of the situation in which they were conceived.
Brimming with feelings of fear, dread, anticipation, and resignation, these images reveal Okamura's humanity and curiosity, his concern with day-to-day existence, and the absurdities, incongruities, and disruptions of life during wartime: women preparing afternoon tea outside bombed rowhouses; girls dressed in their Sunday best leaving flowers at a roadside shrine; a collection of empty milk bottles destined to become incendiary devices. Illuminating essays by renowned photographic historians place this astounding collection in context with Okamura's larger body of work and situate these images within the history of both the medium and the country.